{"id":22101,"date":"2007-02-07T22:20:00","date_gmt":"2007-02-07T21:20:00","guid":{"rendered":"http:\/\/www.reflections.it\/wordpress\/?p=22101"},"modified":"2025-12-08T11:46:13","modified_gmt":"2025-12-08T10:46:13","slug":"inland-empire","status":"publish","type":"post","link":"https:\/\/www.reflections.it\/wordpress\/inland-empire\/","title":{"rendered":"Inland Empire"},"content":{"rendered":"\n

Inutile simulare stupore od insoddisfazione.\u00a0David Lynch<\/strong>\u00a0non si identificher\u00e0 mai con il cinema inteso nella forma pi\u00f9 classica e tradizionale. Fuori da qualsiasi imposizione di struttura narrativa e rappresentativa, il regista di\u00a0Dune<\/em>,\u00a0Mulholland Drive<\/em>\u00a0e Twin Peaks<\/em>, esula da una sceneggiatura razionale e logica, trasformando\u00a0Inland Empire<\/em>\u00a0in una sorta di sfida intellettuale tra le sue intenzioni criptiche e la capacit\u00e0 di lettura e decodificazione dello spettatore. Trascorsa la prima mezz\u2019ora in cui tutto sembra immerso in una sorta di normalit\u00e0 narrativa ( ci troviamo su di un set cinematografico per il remake di un film “maledetto” a causa del misterioso assassinio dei due protagonisti prima della fine delle riprese), scatta la trappola visionaria in cui dovrebbe essere celato, o forse no, il significato dell\u2019intera vicenda. In realt\u00e0\u00a0Lynch<\/strong>\u00a0non \u00e8 mai stato tanto uguale a se stesso come in questo caso. Attraverso un gioco d\u2019immagini girate interamente al digitale sfumate nei toni del grigio ( il nero \u00e8 il suo colore preferito) ed intersecate le une con le altre senza un\u2019 apparente consecutio logica, il regista instaura un dialogo con il pubblico attraverso suoni, atmosfere e musiche dall\u2019intensa forza trainante. In realt\u00e0 il modo migliore per affrontare questa pura esperienza visiva sarebbe quella di lasciarsi andare, vivere il percorso visivo senza imporre ad esso alcuna struttura riconoscibile. Solo in questo modo, assumendo il ruolo di puro ed indifeso spettatore, si comincia ad intravedere tra la nebbia dei sottintesi e delle rappresentazioni la colonna portante che, comunque, mai pu\u00f2 essere definita come storia.<\/p>\n\n\n\n

Pi\u00f9 che un percorso umano decodificato tramite una struttura tecnica d\u2019inizio, centro e fine, Lynch<\/strong> sceglie di lanciare, con la forza invasiva d\u2019immagini distorte nell\u2019estetica come nel significato, le sue riflessioni sulla macchina cinema. Nello sdoppiamento di una personalit\u00e0, nella sovrapposizione e nello scambio involontario che avviene tra attrice e personaggio si compie la drammatica perdita di coscienza della propria vita. Come in una creazione di universi paralleli, la realt\u00e0 rappresentata e quella rappresentabile si intersecano e si allontanano creando un incubo cosciente e vigile. A questo punto verrebbe da chiedere se la vita sia pi\u00f9 cinematografica del cinema stesso, ma il fulcro di tutto non si trova nemmeno in questo quesito. Piuttosto si continua in una speculazione mentale ed intellettiva capace di catturare e sedurre per pi\u00f9 di tre ore e mezzo, nonostante una inevitabile costernazione. Mentre Laura Dern<\/strong> si perde lungo l\u2019andare e venire delle sue due esistenze, o meglio lungo la concretezza di una e la proiezione quasi demoniaca dell\u2019altra agendo inconsapevolmente sull\u2019emotivit\u00e0 di una spettatrice tanto coinvolta da riflettere la propria esistenza su quella di un personaggio televisivo, va delineandosi la natura di questo Inland Empire<\/em>. Il cinema, inteso come luogo di rappresentazione e presa di coscienza, si trasforma in quella terra di mezzo dove i due universi paralleli, realt\u00e0 e messa in scena, si incontrano attraverso un gioco di porte comunicanti, fuori e dentro una finzione prestabilita. Perch\u00e9 nel momento dell\u2019accensione delle luci in sala, o con l\u2019epilogo finale del film i due emisferi si separano, lasciando le luci della ribalta ad una realt\u00e0 impegnata a rappresentare se stessa all\u2019infinito.<\/p>\n\n\n\n

di Tiziana Morganti<\/p>\n","protected":false},"excerpt":{"rendered":"

Inutile simulare stupore od insoddisfazione.\u00a0David Lynch\u00a0non si identificher\u00e0 mai con il cinema inteso nella forma pi\u00f9 classica e<\/p>\n","protected":false},"author":1,"featured_media":22100,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[12],"tags":[],"class_list":["post-22101","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cinema-recensioni-novita-approfondimenti"],"yoast_head":"\nInland Empire - Reflections<\/title>\n<meta name=\"description\" content=\"Due attori si ritrovano immersi in una storia oscura e inquietante, confondendosi con i personaggi che 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